BUREOWES' 


PIANOFORTE 

PRIMER, 


CONTAINING    THE 


V.IENTS    OF    MUSIC, 


CALCULATED 


HER  FOR  PRIVATE  TUITION, 


OR, 


TEACHING    IN    CLASSES 


RKTISBD     AND     ENLARGED,  WITH    ADDITION* 
AND    ALTERATIONS, 

BY  W.  C.  PETERS. 


RICHMOND,   YA: 

J.    W.    RANDOLPH,    PUBLISHER. 
1864. 


BUEROWES' 


PIANO-FOKTE 

PRIMER, 


CONTAINING    THE 


RUDIMENTS    OF    MUSIC, 


CALCULATED 


EITHER  FOR  PRIVATE  TUITION, 


OR, 


TEACHING    IN     CLASSES. 


REVISED     AND     ENLARGED,  WITH     ADDITIONS 
AND    ALTERATIONS, 

BY  W.  C.  PETERS. 


RICHMOND,    YA: 

J.     W.    RANDOLPH,    PUBLISHER. 
«  1864. 


PREFACE 


The  rapid  sale  of  this  little  work,  and  the  flattering 
approbation  which  has  been  bestowed  npon  it  by  many  of 
the  most  eminent  Professors,  have  given  great  satisfac- 
tion to  the  Author.  In  presenting  another  edition  to 
the  musical  world,  he  begs  to  repeat,  that  it  is  not  in- 
tended to  interfere  with  the  mode  of  instruction  which 
any  Master  has  already  adopted,  but  to  be  used  either 
in  private  tuition  or  teaching  in  classes,  in  addition  to 
the  regular  lessons  already  in  use. 

The  author  thinks  it  necessary  to  repeat,  that  he  does 
not  offer  this  book  as  containing  anything  new  j  yet  he 
hopes  it  will  be  found  useful  in  explaining  the  rudi- 
ments, and  thereby  enabling  the  Master  to  devote  more 
time  to  other  important  branches  of  music. 

The  following  remarks,  although  certainly  superfluous 
to  professors  in  general,  he  hopes  will  not  te  thought 
intrusive. 

The  principal. object  of  every  teacher  should  be,  to 
make  his  pupils  thoroughly  comprehend  one  question, 
before  they  proceed  to  another  ;  for  this  purpose  eaeh  one 
should  be  provided  with  a  music  slate,  upon  which,  after 
explanation,  the  teacher  should  write  an  exercise  drawn 
from  the  questions  or  the  Appendix,  leaving  the  blanks 
to  be  filled  up  by  the  pupils. 

Every  exercise  should  be  repeated,  and  the  form  of 
it  varied,  until  it  be  done  without  a  mistake,  and  until 
the  pupil  be  able  to  give  an  Example  upon  the  instru- 
ment, or  answer  any  question,  whether  proposed  in  the 
regular  order  or  otherwise.  This  Will  be  attended  with 
a  little  trouble  to  the  Master  in  the  first  instance  only, 
as  the  author  recommends  that  the  learners  of  the  second 
chapter,  should  be  teachers  of  the  first;  and  this  should 
be  done  at  a  distant  part  of  the  room  in  which  the  Mas- 
ter is  giving  his  lessons  at  the  piano-forte,  that  he  may, 
by  way  of  keeping  up  the  attention  of  the  scholars,  oc- 
casionally inspect  their  Examples  ;  and  it  is  recommended 
that  an  examination  of  the  whole  school  should  take 
place  at  stated  periods. 


IV  PREFACE. 

Pupils  of  talent  to  be  removed  to  the  upper  classes 
as  soon  as  the  Master  finds  them  qualified,  without 
waiting  for  those  who  are  less  rapid  in  their  improve- 
ment. 

The  Exercise  of  each  class  to  be  appointed  by  the 
Master.  They  may  be  selected  either  from  the  Primer, 
or  by  making  the  pupils  explain  to  the  teacher  the  lesson 
about  to  be  played  ;  both  the  time  marked  and  manner  of 
counting  it  throughout,  pointing  out  those  Notes  from 
which  the  fingers  are  to  be  raised,  those  Notes  which 
are  to  be  held  down,  the  reasons  for  the  fingering,  &c;, 
&c. 

The  classes  to  be  held  only  during  the  time  the  Mas- 
ter is  giving  his  lessons  at  the' piano-forte. 

The  younger  pupils  to  be  attended  at  their  daily  prac- 
tice by  one  of  the  elder  ones,  who  is  to  be  appointed 
by  the  Master. 

After  being  made  thoroughly  acquainted  with  the  con- 
tents of  this  book,  the  pupils  may  proceed  to  the  study 
of  Harmony?  and  the  practice  of  playing  from  figured 
bases, 


THE 


PIANO-FORTE  PRIMER. 


CHAPTER  I. 

OF    THE     KEYS, STAFF,    ETC 


How  are  the  Keys  of  the  Piano  Forte  named  ? 

From  the  first  seven  letters  of  the  alphabet :  the  Eighth, 
or  Octave,  is  a  repetition  of  the  first.  Example:  A,  B, 
C,  D,  E,  F,  G,  A,  B,  C,  D,  E,  &c. 

How  are  the  Letters  applied  to  the  Keys  ? 

First,  by  observing  that  the  Black  Keys  are  divided  in- 
to groups  of  two  and  three.  D,  is  between  the  txco  Black 
Keys ;  G,  is  on  the  left,  and  A,  on  the  right,  between  the 
three  Black  ones. 

Describe  the  situation  of  the  others. 

C,  is  on  the  left;  and  E,  on  the  right  hand  side  of  D. 
F,  is  on  the  left  of  G;  and  B,  on  the  right  of  A. 

What  is  a  Staff? 

A  Staff  consists  of  five  Lines  and  four  Spaces,  upon 
which  the  Notes  are  placed,  and  named  regularly  by  de- 
grees. 

The  five  Lines  and  four  Spaces  make  nine  Degrees.  If  you  wi6h  more 
Degrees,-how  are  they  formed  ? 

By  using  the  Space  above  or  below  the  Staff,  orby  mak- 
ing short  lines,  called  Added  or  Ledger  Lines,  on  which, 
or  the  Spaces  between  or  above  them,  the  notes  are  placed. 

(5) 


6 


KEYS,   STAFF,    ETC, 


Srd  Ledger  Space  above  Jthe  Staff 

2nd  Ledger  Line  above.    

2nd  Ledger  Space  above  the  Staff. 

let  Ledger  Line  above.    

let  Ledger  Space  above  the  Staff. 

6th  Line. 9 

8  4th  Space 

4th  Line. 7 

C                            3rd  Space. 
3rd  Line. 5- 


2ad  Line. 
1st  Line. - 


4  2nd  Space. 

3 

2  lat  Space. 

1st  Ledger  Space  below  tie  Staff. 

1st  Ledger  Line  below.    

2nd  Ledger  Space  below  the  Staff. 

2nd  Ledger  Line  below.    

Srd  Ledger  Space  below  the  Staff. 
How  many  Stafle  are  in  general  -v.se  ? 

Two.     The  Treble  and  the  Base  Staff. 

How  are  you  to  know  iba  Treble  Staff  from  the  Bise  Staff? 

By  the  character  placed  at  the  beginning  of  each  Staff. 
called  a  Clef,  or  Key  to  the  names  of  the  Notes. 
What  Clef  ie  generally  used  for  the  Treble,  or  right  hand  ? 


The  G,  or  Treble  Clef,  viz. 


What  Clef  is  generally  used  for  the  Base  or  left  hand  ? 

The  F,  or  Base  Clef,  viz :         _  ; 


In  Piano-Forte  music  the  two  Staffs 
are  joined  together  by  what  is  called 
a  Brace,  thus — 


Why  is  the  Treble  Clef  Note  called  G  ? 

Because  the  Note  placed  on  the  second  Line  in  the  Treble 
is  called  G,  or  the  Treble  Clef  Note. 

How  are  the  names  of  the  other  Treble  Notes  named  ? 

They  are  named  from  the  Clef  Note,  proceeding  regular- 
ly by  degrees,  both  upwards  and  downwards. 


KEYS,    STAFF,    ETC.  / 

As  the  Note  on  the  second  Line  in  the  Treblo  is  called  G,  what  will  be 
the  name  of  a  Note  in  the  second  Space  i 

If  the  Note  on  the  second  Line  in  the  Treble  is  called 
G,  the  second  Space  will  be  the  next  letter  ,  which  is  A; 
the  third  Line  B ;  the  third  Space  C,  &c. 

Name  the  Treble  Notes  in  the  Staff,  upwards  and  downwards  ;  point 
out  the  Clef  Note      ' 


Why  is  the  Base  Clef  Note  called  F? 

Because  the  Note  placed  on  the  fourth  Line  in  the  Base 
is  called  F,  or  the  Base  Clef  Note. 

How  are  the  names  of  the  other  Notes  determined  ? 

In  the  same  manner  as  the  Treble  Notes,  viz.,  from 
the  (Mef  Note,  both  upwards  and  downwards. 

As  the  Note  on  the  fourth  Line  in  the  Base  Is  called  F,  what  will  be  the 
name  of  a  Note  in  the  fourth  Space  ? 

If  the  Note  on  the  fourth  Line  in  the  Base  is  called 
F,  the  fourth  Space  will  be  the  next  letter,  which  is  G, 
the  fifth  Line,  A;  above  the  Staff,  B,  &c. 

Name  the  Base  Notes  in  the  Staff,  upwards  and  downwards. 


a S>- 


--0   •   •   -—^— 

G  A  B  C  D  E 

Describe  the  situation  of  the  following  Notes. 

0     -0-    ■»-    *:    , 


The  Pupil  should  give  a  clear  description,  and  tell  the 
name  of  each  note  in  the  Treble  and  Base  Clefs. 

Name  the  Treble  Notes,  upwards  and  downwards,  beginning  with  the 
Clef  Note. 


LENGTH    OF    NOTES,    RESTS,    ETC. 


-*--«- 


It! 


-vzP' 


*-£: 


jkzSL 


Name  the  BaBe  Notes,  upwards  and  downwards,  beginning  with  the 
Clef  Note, 


<*— m 


*— *• 


M-11L 


?    -<•■ 


jl*:± 


p—w 


£ZIC 


How  do  you  determine  the  situation  of  the  Clef  Notes  on  the  Piano 
Forte?  4 

First,  by  finding  the  0,  which  is  nearest  to  the  mid- 
dle of  the  instrument,  called  middle  C:  the  G,  or  Treble 
Clef  Note,  is  the  first  G,  above,  or  on  the  right  hand 
side  of  it :  the  F,  or  Base  Clef  Note,  is  the  first  F,  be- 
low, or  on  the  left  hand  side  of  middle  C. 

How  are  the  situations  of  the  other  Notes  determined  ? 

By  going  to  the  right,  for  those  above  ;  and  to  the 
left,  for  those  below  the  Clef  Notes. 

Give  an  exercise  for  naming  and  striking  some  Treble  and  Base  Notes. 


CHAPTER  11. 

OF    THE    LENGTH    OF    NOTES,    RESTS,    ETC. 

now  many  different  sorts  of  Notes  are  in  general  use  ? 

Six. 

Describe  and  show  their  different  forms. 


Semibreve.       Minim.      Crotchet.      Quaver.  Semiquaver.  Demisemi- 

quaver. 


LENGTH    OF    NOTES,    RESTS,    ETC.  9 

What  proportion  do  they  bear  to  each  other  ? 

Each  note  is  only  half  the  length  of  the  one  preceding ; 
for  example,  a  Minim  is  only  half  the  length  of  a  Semi- 
breve,  consequently  one  Semibreve*  is  as  long  as  two 
Minims. 

Suppose  you  should  wish  to  know  how  many  Semiquavers  are  equal  to 
a  Semibreve  or  Minim,  in  what  manner  will  you  reckon  them  ? 

By  beginning  from  any  one,  and  proceeding  in  rotation, 
always  doubling  the  number ;  for  example,  one  Crochet 
is  as  long  as  two  Quavers,  four  Semiquavers,  or  eight 
Demisemiquavers. 

Repeat  the  general  Table  of  the  v.ilue  of  Notes. 


5  £ 

o5  e*  8 

*-.  3  © 


8*2 

1        a        i        $       - 1        § 


m                 S                 O                 <y  m  p 

^      =       2       =       4       =        8=  16       =  32 

p      =2       =       4        =  8=  16 

#=2       =  4       =  8 


: 


2        =       4 
_         o 


e 


Name  the  half,  the  fourth,  tho  eighth,  the  sixteenth  of  a  Semibreve  ;  of 
a  Minim,  Crotchet,  Quaver.  &c. 
What  are  Rests? 

Marks    for  silence,  corresponding    with  the    different 
Notes. 

Describe  and  show  them. 
Semibreve      Minim  Crotchet  Quaver      Semiquaver  Demisemiq'r 

Rest.  Rest.  Rest.  Rest.  Rest.  Rest. 


fl 


-P- 


Under  a    I   Over  a  1    Turned  to  I    Turned  to  I  With  two  I  With  three 
Line.      ■    Line.     ■   the  right.  ■   the  left.     |       Heads.   I    Heads. 


10 


LENGTH    OF    NOTES,    RESTS,    ETC. 


What  is  the  use  of  a  Dot  after  any  Note  or  Rest  ? 

A  Dot  is  equal  to  half  the  preceding  Note;  consequent- 
ly a  Semibreve  with  a  Dot,  is  equal  to  three  Minims,  or 
six  Crochets,  &c.  A  Dotted  Crochet  is  as  long  as  three 
Quavers,  &c. 


=S1P= 


*_; 

_.! 

~T 

1~ 

;  ~d — m~ 

-F-F- 

-WZ1 

"What  is  a  Triplet  ? 

When  three  Quavers,  instead  of  two,  are  played  to  a 
Crochet,,  they  are  called  a  Triplet ;  or  three  Semiquavers, 
instead  of  two,  to  a  Quaver;  and  in  the  same  proportion 
to  all  the  other  notes.  Triplets  are  generally,  but  not 
always,  marked  with  a  figure  of  3. 


glfr-gp- 


A  figure  of  6  is  sometimes  plaoed  over  six  Quavers  or  Semiquavers,  &c. 
What  does  it  signify  ? 

It  signifies  that  the  six  Quavers  are  to  be  played  in  the 
time  of  four,  or  in  the  time  of  one  Minim. 


g«?#— 


LENGTH    OF    NOTES,    RESTS,    ETC.  11 

F   NOTES,    RESTS,    ETC.,    NEWLY    EXPLAINED. 
How  many  different  kinds  of  Notes  are  in  general  ubo  ? 

Six. 

Describe  and  show  their  different  forms. 

A  Whole  Note  has  a  shape  like  an  0,  thus ^ 


A  Half  Note  is  shaped  like  a  -whole  note, 
with  a  stem  turned  up  or  down,  thus, 


A  Quarter  Note  has  a  black  head,  with  a 
stem,  thus, 


im 


An  Eighth  Note  has  a  black  head,  with  a  i"~n — 

stem  and  one  hook,  thus,  I     "~J 

A  Sixteenth  Note  has  a  black  head  ,with  a  J 

stem  and  two  hooks,  thus,  j*      J      . 


A  Thirty-second  Note   has   a  black   head, m — g- 

with  a  stem  and  three  hooks,  thus,  gZZSI 


What  proportion  do  the  several  Notes  bear  to  each  other? 

Each  Note  is  only  half  the  length  of  the  one  preced- 
ing ;  for  example,  a  Half  Note  is  only  half  as  long  as  a 
Whole  Note,  consequently  a  Whole  Note  is  as  loog  as 
two  Half  Notes. 

Suppose  you  wish  to  know  how  many.  Sixteenth  Notes  are  equal  to  tj 
Whole  Note,  or  Half  Note,  in  what  manner  would  you  reckon  tnem  ? 

By  beginning  from  any  one,  and  proceeding  in  rotation, 
always  doubling  the  number ;  for  example,  one  Quarter 
Note  is  equal  to  two  Eights,  four  Sixteenths,  or  eight 
Thirty-second  Notes. 


12  LENGTH    OF    NOTES,    RESTS,    ETC. 

Repeat  the  general  Table  of  the  value  of  Notes . 


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Name  the  half,  the  fourth,  the  eighths,  the  sixteenths;  &c,  of  a  "Whole 
Note,  of  a  Half  Note,  of  a  Fourth*Note,  of  a  Sixteenth  Note,  to. 
What  are  Rests  ? 

Marks   for   silence,  corresponding  with   the   different 

Notes. 

Describe  and  show  them. 

Whole  Note  Half  Note       Quarter     Eighth  Note    Sixteenth  iThirty-sec- 
Rest.  Rest.         Note  Rest.       Rest.         Note  Rest,      ond  Rest. 


^J_^lTJT7ri^ 


*t 


Block  under  Block  over  Stem  -with  a  Stem  with  a  Stem,  with   Stem,  with 
a  Lino.         a  Line.       hook  to  the    hook  to  the    two  hooks  three  iiooks 
right.  left.  to  the  left,    to  the  left. 

What  is  the  use  of  a  Dot  after  any  Note,  or  Rest  ? 

A  Dot  is  equal  to  kalf  the  preceding  Note  :  consequent- 
ly, a  Whole  Note  with  a  Dot  is  equal  to  three  Half  Notes. 
A  half  Note  with  a  Dot  is  equal  to  three  Quarter  Notes. 


LENGTH    OF    NOTES,    RESTS,    ETC. 


13 


A  Quarter  Note  with  a  Dot  is  as  long  as  three  Eighth 
Notes  ;  thus: 


Z"2~JI 


I 


I 


L 


=F 


'Cf 


_-  ~9—0 :m 


ZZ9-9 — e — 

±l~l: 


"What  is  a  Triplet  ? 

TThcn  three  Eighth  Notes,  instead  of  two,  are  played  to 
a  Quarter  Note,  or  three  Sixteenths,  instead  of  two,  to  an 
Eighth,  the}'  are  called  Triplets  ;  and  in  the  same  propor- 
tion to  all  other  Notes.  Triplets  are  generally,  but  not 
always,  marked  with  a  figure  of  3.  The  figure  3  is  usu- 
ally placed  over  the  first  group  of  Notes  only. 


3"* 


EEFEEFt 


What  is  a  Double  Triplet  ? 

It  is  called  a  Double  Triplet,  when  six.  Eighth  Notes  are 
played  in  the  time  of  four,  or  in  the  time  of  a  Half  Note ; 
or  when  six  Sixteenth  Notes  arc  played  in  the  time  of  four, 
&c.  The  figure  of  6  is  usually  placed  over  the  first  group 
of  Notes. 

6 


CHAPTER  III. 


OF    TIME. 


What  are  Bars  ? 

Short  Lines  drawn  across  the  Staff,  to  divide  the  Music 
into  equal  portions  ;  but  the  Music  between  two  of  these 
is  also  called  a  Bar  or  Measure. 

How  many  sorts  of  Time  are  there  ? 

Two  :  Common  Time,  and  Triple  Time. 

"What  is  meant  by  Common  Time  ? 

An  even  number  of  parts  in  a  Bar,  as  Two,  Four,  Six, 
or  Twelve. 

What  is  meant  by  Triple  Time? 

An  odd  number  of  parts,  as  Three  or  Nine. 

How  is  the  Time  marked? 

Afrthe  beginning  of  every  piece  of  Music  ;  sometimes 
it  is  marked  by  a  "O  which  signifies  Common  Time,  and 
the  Bar  then  contains  the  value  of  a  Semibreve,  but  gen- 
erally expressed  four  Crochets  in  a  Bar :  the  Time  is  also 
occasionally  marked  by  two  Figures,  which  have  a  refer- 
ence to  the  Semibreve.' 

How  do  the  Figures  refer  to  the  Semibreve  ? 

The  lowest  Figure  shows  into  how  many  parts  the  Semi- 
breve is  divided,  and  the  upper  Figure  shows  how  many 
of  those  parts  are  to  be  in  a  Bar. 

Name  the  Divisions  of  a  Semibreve. 

A  Semibreve  divided  into  two  parts,  will  become  Min- 
ims :  divided  into  four  parts,  it  will  become  Crochets  :  di- 
vided into  eight  parts,  it  will  become  Quavers :  conse- 
quently, the  figure  of  2,  represents  Minims ;  the  figure  of 
4,  represents  Crochets ;  and  the  figure  of  8  represents 
Quavers. 

(H) 


OF    TIME.  ^  15 

Explain  the  following  marks  of  Time  :  pointing  out  which  are  Ccmmon 
arid  which  are  Triple  Time. 


=3F 
— & 


:F-4— F-^-F-^-F— 8— F 


ITow  many  sorts  of  Common  and  Triple  Times  are  there  ? 

Two  of  each,  viz ;  Simple  and  Compound. 

How  are  they  distinguished  ? 

The  easiest  way  is  to  re^nemb.er.  that  if  the  Number  of 
Notes  expressed  bythe  upper  figure,  or  figures,  is  less 
than  G,  it  is  Simple  ;  but  if  it  is  6,  or  more  than  6,  it  is 
Compound. 

Explain  again  all  the  marks  of  Time,  pointing  out  which  are  Simple  and 
which  are  Compound. 

Is  it  necessary  to  count  the  Time  exactly  as  expreesed  by  the  Figures  ? 

No.  Two  Crotchets  may  be  counted  asfour  Quavers; 
three  Crotchets  as  six  Quavers,  &c. 

How  is  the  Time  to  be  counted,  if  the  piece  contains  Triplets  ? 

It  must  be  counted  by  the  value  of  the  Triplet:  for  ex- 
ample, if  there  are  three  Quavers  to  a  Crotchet,  the  Time 
must  be  counted  by  Crotchets:  if  there  are  three  Semi- 
quavers to  a  Quaver,  it  must  be  counted  by  Quavers. 


OF    MEASURE,    TIME,    ETC,    NEWLY    EXPLAINED . 
What  are  Bars? 

Shoft  Lines  drawn  across  the  Staff,  to  divide  the  Music 
into  Measures. 
What  is  a  Measure? 
The  quantity  of  Music  contained  between  two  Bars. 

How  many  kinds  of  Measure  are  there  1 

There  are  four  princ%>al  kinds  of  Measure  in  general 
use,  viz:  Two-fold,  or  Double;  Three-fold,  or  Triple;  Four- 
fold, or  Quadruple  ;  and  the  Six-fold,  or  Sextuple. 


1G  OF    MEASURE,    TIME,    ETC. 

What  is  meant  by  Two-fold,  or  Double  Measure  ? 

An  even  number  of  parts  in  a  Measure,  as  twe  halves,  or 
tiro  quarters.  It  is  accented  on  the  first  part  of  the  Mea- 
sure. 

"What  is  meant  by  Three-fold,  or  Triple  Measure  ? 

An  odd  number  of  parts  in  a  Measure,  as  three  halves,  or 
three  quarters,  or  three  eighths.  It  is  accented  on  the  first 
part  of  the  Measure. 

What  is  meant  by  Four-fold,  or.  Quadruple  Measure? 

An  even  number  of  parts  in  a  Measure,  as  four  halves, 
four  quarters,  or  four  eighths.  It  is  accented  on  the  first 
and  third  parts  of  the  MeaStire. 

"What  is  meant  by  Six-fold,  or  Sextuple  Measure  ? 

An  even  number  of  parts  in  a  Measure,  each  part- con- 
taining an  odd  number,  as  sitf* quarters  divided  into  twice 
three,  or  six  eighths  divided  into  twice  three.  It  is  accent- 
ed on  the  first  and  fourth  parts  of  the  Measure, 

Are  there  any  other  Measures  used  ? 

Yes:  the  Nine-fold  and  Twelve-fold  are  sometimes 
used. 

"What  is  meant  by  Nine-fold  Measure  ? 

An  odd  number  of  parts  in  a  Measure,  each  part  con- 
taining an  odd  number,  as  nine  quarters,  or  nine  eighths 
divided  into  three  times  three.  It  is  accented  on  the  first, 
fourth  and  seventh  parts  of  the  Measure. 

"What  is  meant  by  Twelve-fold  Measure  ? 

An  odd  number  of  parts  in  a  Measure,  each  part  con- 
taining an  even  number,  as  twelve  quarters,  or  twelve  eighths, 
divided  into  three  times  four.  It  is  accented  on  the  first, 
fifth,  and  ninth  parts  of  the  Measure. 

How  is  Time  marked  ?  % 

The  Time  is  marked  at  the  beginning  of  every  piece  of 
Music,  either  by  two  figures,  or  by  the  letter  "O 

How  is  Two-fold,  or  Double  Time  cxpiessed? 

2      2  .22 

By  the  figures  o'    4'   and  sometimes  t  or  q" 
How  is  Three- fold,  or  Triple  Time  exT^essed  ? 

By  the  figures  2'  4  or  g' 


POSITION    OF    THE    HAND,    ETC.  17 

How  is  Four-fold,  or  Quadruple   Time  expressed  ? 

By  the  figures  £  /*  or  by  the  sign  ■©,  which  signifies 
Common  Time. 

How  is  Six  fold,  or  Sextuple  Time  cxprcssod  ? 

By  the  figures  g  or   / 

How  are  Nine-fold  aud  Twelve-fold  Time  expressed  ? 

Nine-fold  Time  is  expressed  by  the  figures  o  or  ^    and 

19         -jo 
Twelve-fold  Time,  by  the  figures     f  or     7. 

How  do  the  figures  refer  to  the  Whole  Note  ? 

The  lower  figure  shows  into  how  many  parts  the  Whole 
Note  is  divided,  and  the  upper  figure,  or  figures,  show  how 
many  of  trhose  parts  are  to  be  in  a  measure 


CHAPTER  IV. 

OF  THE  POSITION  OF  THE  HAND,  AND  MANNER  OF  PLAYING,  ETC. 


In  what  position  should  the  hand  and  arm  be  held  ? 

The  hand  and  arm  should  be  even,  neither  raising  nor 
depressing  the  wrist:  the  fingers  should  be  bent  at  the 
middle  joint,  so  as  to  bring  the  points  of  them  even  with 
the  end  of  the  thumb. 

How  many  Keys  should  be  covered  by  the  hand  in  its  natural  position  ? 

Five  ;  one  finger  over  the  centre  of  each  Key.  In  press- 
ing down  a  Key  with  one  finger,  care  must  be  taken  not 
to  move  the  others. 

How  many  Keys  are  to  be  held  down  at  one  time  ? 

Generally. speaking,  one,  and  that  must  be  kept  down 


18  POSITION    OF    THE    HAND,    ETC. 

until  the  next  Key  is  struck,  "but  not  longer.  When  two 
or  more  Keys  are  struck  at  one  time,  they  are  considered 
but  as  one,  and  they  must  be  held  down  until  the  next 
Keys  are  struck. 

In  what  cases  should  the  fingers  be  raised  ? 

When  any  Key  is  struck  more  than  once,  it  should  be 
raised  every  time  but  the  last;  and  the  fingers  must  of 
course  be  raised  whenever  a  Rest  appears. 

What  is  the  meaning  of  laying  Legato! 

It  signifies  playing  smoothly,  always  keeping  one  Key 
down  until  the  next  be  struck. 

What  is  playing  Staccato  ? 

Separating"  the  Notes  from  each  other,  or  raising  the 
finger  from  one  Key  before  the  other  is  down. 

What  is  a  Slur?     ^-  -  -^        ^~,  ,„^^ 

It  is  a  curved  line,  drawn  over,  or  under  two  or  more 
Notes  to  signify  that  they  are  to  be  played  Legato. 

What  is  a  Tie,  or  Bind  ?    ^   _s  ,    ^        • **i 

It  is  of  the  same  form  as  a  Slur,  but  placed  to  two  Notes 
alike :  it  binds  the  second  to  the  first,  so  that  only  the 
first  is  to  be  struck ;  but  the  finger  must  be  held  down 
the  full  time  of  both, 

How  are  Notes  marked  -which  are  to  be  played  Staccato  ? 

With  round  dots  or  pointed  specks,  above  or  below 
them:  those  with  dots  are  to  be  played  moderately  stac- 
cato; those  with  specks,  very  much  so. 

Tlay  the  following  passage,  in  the  three  different  ways  it  is  marked. 


-L  ■+■■«     f   j.-1 


■i#^ 


OF    SHARPS,    FLATS,    ETC. 


19 


ITow  are  Notes  to  be  played  which  aro  marked  with  Dots  and  Slora 
also? 

On  a  repetition -of  the  same  Note,  they  should  be  play- 
ed as  closely  as  possible. 


izlzlzl 


"When  Notes,  thus  marked,  are  played  in  succession,  the 
fingers  should  be  gently  put  down  and  gently  raised. 


CHAPTER  V. 


OF    SHARPS,    FLATS,    ETC. 


What  is  an  Interval  ? 

An  Interval  is  the  difference  or  distance  between  two 
sounds. 

What  is  the  smallest  Interval  ?  • 

A  Semitone,  or  half  a  Tone.  Each  Key  of. the  Tiano- 
Forte  is  a  Semitone  from  that  which  is  next  to  it,  wheth- 
er it  be  a  White  Key  or  a  black  one.  ■  r 

What  is  a  Sharp?    £ 

A  Sharp  placed  before  any  Note,  raises  it  one  Semi- 
tone, or  to  the  next  Key  on  the  right  hand. 


is  a  Flat 


A  Fht  placed  before  any  Note,  lowers  it  one  Semitone 
or  to  the  next  Key  on  the  left  hand 


20 


OF    SHARPS,    FLATS,    ETC. 


~^-¥- 


i 


— I — 


"What  is  a  natural  ?     t] 

A   Natural  brings  a  Note  that  has  been  raised  by  a 
Sharp,  or  lowered  by  a  Flat,  to  its  former  place  again. 


y^qpjp^: 


consequently,  a  Natural  sometimes  raises  and  sometimes 
lowers  a  Note. 

Why  are  Shaips  or  Flats  placed  at  the  beginning  of  a  piece  of  music? 

Any  Sharps  or  Flats  placed  at  the  beginning  affect  all 
notes  of  the  corresponding  names,  throughout  the  piece. 

— ftrr  • 
For  example,  a  Sharp  on    — ~ the  fifth  line  signifies 

that  all  the  F's  are  to  be  played  Sharp ;  and  Flats  upon  the 

third  Line  and  fourth  i t>— —  Space,  signify  that  all 

the  B's  and  E's  are  to  be  Flat. 

What  are  Accidental  Sharps,  Flats  or  Naturals  ? 

Accidentals  are  those  which  are  not  marked    at    the 
beginningtof  the  piece. 

How  long  does  the  influence  of  an  Accidental  last? 

An  Accidental  affects  all  Notes  of  the  same  name  in 
the  Bar.     For  Example, 


rifrrf-ciirrw-f- 


l 


signifies  that  all  the  C's  are  to  be  sharp,    though  only 
the  first  is  marked. 


COMMON    CHARACTERS,    ETC 


'21 


The  Flat  in  this  Example,    although    placed  to  B  on 
the  third  Line,  affects  the  B  above  the  first  Ledger  Line. 

Do  Accidentals  ever  affect  Notes  in  the  Bar  following? 

Yes;  if  the  last  Note  of  one  Bar,  which  has  been  made 
sharp,  begins  the  next,  it  is  to  continue  sharp. 


The  same  is  to  be  observed  of  Flats  and  Naturals. 


CHAPTER  VI. 

OF    COMMON    CHARACTERS    USED    IN    MUSIC. 


What  is  the  use  of  Double  Bars; 


I 


Double  Bars  are  placed  in  the  middle,  or  at  the  end 
of  a  piece  of  Music,  to  show  that  a  part,  or  the  whole 
is  finished. 

What  is  the  use  of  Dots  at  a  Bar,  or  al  a  Double  Bar  ? 


They  signify,  that  that  part  of  the  Music  which  is  on  the 
same  side  as  the  Dots,  is  to  be  repeated.     For  Example, 


22 


COMMON    CHARACTERS. 


m 


these  Dots  being  on 

the  Double  Bar,  signify  that  the  Performer,  is  to  repeat  the 

former  piece:  but  these  Dots  being  on 


m 


the  right-hand  side,  signify  that  the  Performer,  after  hav- 
ing played  to  the  next  Dot.  is  to  return  to  this  place. 

What  is  the  use  of  a  Sign  ?  '{fe 

The  second  time  it  occurs  in  a  piece  of  Music,  it  is 
generally  accompanied  with  the  words  <  Dal  Segno, '  whicfc. 
signify  '  From  the  Sign;  '  consequently,  the  Performer,  is 
to  return  to  the  first  mark. 

What  is  the  meaning  of  Da  Capo  7  -generally  abbreviated  D.  C. 

From  the  beginning. 

What  is  the  meaning  of  Da  Capo  al  Segno  7 

From  the  beginning  at  the  Sign. 

Why  are  the  Fgures  1  and  2,  sometimes  placed  at  the  Double  Bar,  in  the 
middle  of  a  Movement  ? 


I 


The  Dots  at  the  Double  Bar  show  that  the  piece  is 
to  be  repeated;  and  the  Figures  denote  that  the  Per- 
former, in  playing  it  through  the  second  time,  is  to  omit 
the  Bar  marked  1,  and  play  that  which  is  marked  2 
instead.  • 

What  is  the  use  of  a  Tause  ?    /*js 

A  Pause  placed  over  a  Note,  signifies  that  the  finger 
is  to  be  held  down,  and  the  Performer  is  to  pause  as 
long  as  he  thinks  proper. 


iy 


A  Pause  over  a  Ptest  has  the  same  meaning,  except- 
ing that  the  fingers  are  to  be  raised. 


USED    IN    MUSIC,  23 


Why  is  a   Pause  eometirnea  placed  over  a  Double  Bar  ? 


^TN 

m 


A  Pause,  (or  the  words  It  Fine,)  placed  at  a  Double 
Bar,  shows  that  the  piece  is  to  end  at  that  place,  after 
the  Da  Capo. 

"What  is  the  meaning  of  the  -word  Bis  1 

It  is  generally  accompanied  with  Dots  at  the  Bars,  and 
placed  under  a  Slur;  it  signifies,  that  the  passage  over 
which  it  is  placed,  is  to  be  played  twice  over. 

Bis. 


What  is  the  use  of  a  Direct?  ^ 


It  is  placed  at  the  end  of  a  Staff,  or  at  the  bottom  o  f 
a  page,  to  indicate  the  name  of  the  following  Note. 

What  is  the  meaning  of  Volti  Subi.'o?  generally  marked  V.  S. 

Volti,  means  turn  over ;  Snbito,  quickly. 

What  is  the  meaning  of  Ottava  Alta  ?  generally  marked  8va. 

It  signifies,  that  the  Music  over  which  it  is  placed,  is  to 
be  played  an  Octave  higher,  as  far  as  the  marks  of  con- 
tinuation extend. 

What  is  the  meaning  of  Loco  ? 

It  signifies,  that  the  Music  is  to  be  played  as  it  is  writ- 
ten ;   that  is  to  say,  no  longer  an  Octave  higher. 

The  Pupil  should  now  he  exercised  in  naming  the  Keys  of  the  Piano- 
Forte,  without  looking  at  the  Instrument,  remarking  that  the  Black  KeyB 
are  occasionally  called  Sharps,  and  occasionally  Flats.  (See  Appendix,  Ex- 
ercise I.)  The  While  Keys,  also,  commonly  called  E  F,  and  B,  C,  fre- 
quently change  their  names,  and  are  used  as  Flats  or  Sharps  to  their  neigh- 
boring Keys.  The  others  too,  are  occasionally  called  Double  Sharps  and 
Double  Flats,  which  are  explained  at  the  beginning  of  Chapter  XI.  (See 
also,   Appendix,  Exercise  II.) 


24  OF    GRACES. 

Name  a  Chromatic  Semitone*  above  A,  A,  u,,  &c.  &c. 

A  Chromatic  Semitone  above  A  is  A^ ;  a  Chromatic 
Semitone  above  A^  is  Ax5  &c.,  &c. 

Name  a  Diat  uiic  Semitone,  above  A,  B,  &c.    (See  Appendix,  Exerciee 
XIII,  page  53.) 

Name  a  Diatonic  Semitone  below  A,  B,  &.c.    (See  Appendix,  Exercise 
XIII,  page  53.) 


CHAPTER  VII. 


OF    GRACES,    AND    COMMON    MARKS    OF    EXPRESSION. 


What  is  an  Appogiatura? 

It  is  a  small  Note  prefixed  to  a  large  one,  from  which  it 
generally  takes  half  its  time.  For  example,  an  Appogiatura 

— <=^^~p  before  a  Minim,  must  be  played  as  a  Crochet, 
p_l*_L  consequently  it  does  not  lengthen  the  Bar. 


When  an  Appogiatura  is  placed  before  a  Double  Note,  is  it  to  be  played 
by  itself,  (as  it  appears,)  or  with  the  lower  Note? 

The  Appogiatura  is  to  be  played  instead  of  part  of  the 
upper  Note;  consequently,  the  lower  Note  must  be  play- 
ed with  it.     For  example, 


*  For  an  explanation  of  the  difference  between  a  Chromatic  and  a  Dia- 
tonic Somitone,  see  page  43.  • 


«: 


— &- 


AND    COMMON    MARKS    Of    EXPRESSION.  25 

1  Must  be  played  as  if  written  thus, 


1 — r 


Are  all  Appogiatur's  totio  made  half  the  time  of  ttic  Note  they  precede? 

No:  they,  as  well  as  the  other  Graces  used  in  Music, 
depend  greatly  on  the  taste  and  judgment    of   the    per- 
former; consequently,  they  can  be  best  explained  as  they' 
occur. 

How  iaa  Turn  '^^  tc  he  made? 

A  Turn  is  to  be  made  with  the  Note  above,  and  the 
Note  below  that  which  is  written,  beginning  with  the 
highest;  consequently,  a  Turn  upon  C,  will  be  made  with 
D,  C,  B,  C. 

Should  the  lowest  Note  of  a  Turn  l»e  a  Tone,  or  a  Semitone  below  the 
Note  written  ? 

In  most  cases  it  should  be  a  Semitone. 

Supposing  a  Turn  he  made  upon  A  ;  is  it  immaterial  whether  it  be  called 
B,  A}  G#  A,  or  B,  A,  AJj,  A? 

No :  three  different  letters  must  be  made  use  of  in  a 
Turn;  therefore  the  lowest  must  be  called  G$,  and  not 

Ab, 

Name,   write   or  play   a  Turn  upon  A,  upon  B.  C,  D,  Ev  F,  G,  &c. 
How  is  a  Turn  made  upon  a  Dotted  Note  ? 

By  first  striking  the  Note  itself,  and  making  the  Turn 
afterwards, 

=E3e£E  .  3EEE=£tE 

What  is  an  inverted  Turn  ?         1 

#An  inverted  Turn  consists  of  the  same  Notes  as  a 
Turn  ;  but  beginning  with  the  lowest  instead  of  the  high- 
est Note. 

Make  an  inverted  Turn  pDon  A,  B,  C,  D,  E,  F,  G,  &c. 
How  is  a  Shake  to  bo  made  ? 

A  Shake  is  made  with   the    Note  above,  and  the  Note 
which  is  written ;  beginning  with  the    highest,  and  con- 
cluding with  a  Turn.     For  Example  : 
3 


3&  OF    uRACiS.- 


SI 


Must  be  played 


<Dr  thus, 


'  The  rapidity  of  the  Shake  depending  on  the  ability  of 
She  Performer. 

Make  a  Bhake  upon  A,  B,  C,  D,  E.  F,  O,  Sec. 
What  is  the  meaning  of  Piano  ? 

Soft;  generally  abreviated ■  Piaf  or  P* 

What  is  Pianissimo  ? 

Very  soft ;  generally  abbreviated  PPmo,  or  PP„ 

What  is  the  meaning  of  Forte  ? 

Loud ;  generally  abbreviated  For.  or  F. 

What  is  Fortissimo? 

Very  loud ;  generally  marked  fmo.  or  ff9 

What  is  the  meaning  oP  Mezzo  Forte,  and  Mezzo  Piano  ? 

Mezzo  Forte  signifies  moderately  loud,  and  Mezzo 
Piano  moderately  soft ',  they  are  generally  marked  Mf. 
and  mp. 

What  is  the  meaning  of  Dolce,  or  Dol.  ? 

Softly,  or  sweetly. 

What  is  the  meaning  of  Tennto,  or  Teno.  ? 

It  signifies  that  the  fingers  are  to  be  particularly  held 
down  during  the  passage  to  which  it  js  applied. 

What  is  Forzando,  or  Sforzato? 

They    each    signify    that  one   Note   is  to   be    played 
strong ;  they  are  abbreviated  fz.  and  sf. 
Wfeatie  Riufcrzantio? 


>wND   COMMON    MaRKS    of    EXPRESSION-  27 

Tt  signifies  that  several  Xotes  are  to  be  played  strong: 
it  is  generally  marked  ■inf.  or  rf. 

Wha'  is  tho  rntv.inin*  of  Crescendo,  or  Cres.  ? 

•Begin  softly,  and  gradually  increase 'the  sound.     The 
following  mark 


is  also  occasionally  used  to  signify  that  the  Performer  is 
to  play  Piano  where  it  is  small,  and  Forte  where  it  is  large. 
If  a  small  mark  of  this  sort  ~^=-  is    applied  to  one  Note,* 
it  has  the  same  effect  as  fz. 

What  is  the  meaning  of  Diminuendo,  cr  Decrescendo? 

Begin  loud,  and  gradually    diminish    the  s«uncL     They 
are  generally  marked  dim.  or  decresu.  or 


What  is  the  meaning  of  Galando,  or  Ca\.  1 

■Gradually  so-fter  and  slower.. 

What  is  the  meaning  of  Perdendomf 

It  has  the  BUifl  meaning  m  Calandc 

What  is  the  meaning  of  a  Tempo,  or  Tempo  Primo* 

After  having  slackened  the  Time  at  Calando^it  signifies 
that  the  original  Time  is  to  be  resumed. 

What  is  the  meaning  of  ad  libitum,  or  ad  lib.  ? 

It  signifies  *  at  pleasure  ;'  that  is  to  say  the  Performer 
may  play  the  passage  as  it  is  written,  or  introduce  any 
Cadence  he  thinks  proper. 

When  two  Eotee  are  marked  with  a  Slur,  thua, 


in  what  manner  are  tivey  to  be  piayed  ? 

As  if  marked  thus,  ~«IIZ^Zt  that  is  to  say,  the  first 


is  to  be  pressed  and  held  down,  the  second  played  softr 
!y,  and  the  finger  raised  immediately. 


U  OF    INTERVALS';, 

What  ie  meant  by  a  curved  «r  waved  Line  placed  befora  a  Chvr<& 

-   =e£  ' 

^_ 

It  signifies  that  the  Notes  are  not  to  bs  played  quite- 
together,  but  successively  from  the  lowest  upwards* 
Chords  played  in  this  manner  are'  called  spread, 


CHAPTER  VII. 

OF    INTERVALS, 


What  is  an  Interval? 

An  Interval  is  the  difference  or  distance  between  two 
sounds.  It  must  be  remembered,  that  all  Intervals  are 
-called  according  to  the  degrees  of  the  Staff,  or* according 
to  the  number  of  letters  they  are  distant  from  each  other* 

For  instance  CJ~  ®  is  a  Second; 


a  Sharp  Second:  but  if  the  same  Keys 


~— tec 

are  struck,  and  called  — l the  interval  is  therj 


called  a  Third. 

Are  Intervals  to  \>q  reckoned  upwards  or  downwards? 

Always  upwards  from  the  Note  named,  unless  the  con- 
trary be  expressed, 

What  is  a  Tone? 

It  consists  of  two  Semitones.  The  Interval  between 
F  and  F$9  is  one  Semitone ;  and  between  F^  and,  Gj  ia 
another.    For  Example, 


OF    INTERVALS.  29 

1  2 

A_A 


consequently,  the  Interval  between  F   and   G  is  a  whole 
Tone.* 

What  is  a  Minor,  or  lesser  Third? 

A  Minor  Third  (sometimes  improperly  called  a  Flat 
Third)  is  three  Semitones  from  the  Note  named.  For  ex- 
ample, the  Minor  Third  of  A,  must  be  reckoned  thus: 
from  A  to  A  #  one  Semitone,  to  B  two,  to  C  '.hree. 

12  3 

A    A_A 


zz^m 


How  many  Semitone.-?  is  a  Major,  or  Greater  Third  from  the  Note  named  ? 

Four:    (this  Interval  is  sometimes  improperly  called 
a  Sharp  Third.) 

12  3  4 

A_A_A_A 


—(D&O 


As  tho  Semiione  above  C,  may  be  called  either  C#  or  Dfc),  is  il  immate- 
rial in  reckoning  the  Major  Third  of  A,  whether  ytu  cay  C#  orDh  ! 

No:  the  Major  Third  of  A,  must  be  called  0$.     For 
example,  A,  13,  C,  is  a  Third,  and  A,  B,  C,  D,  is  a  Fourth, 

Name,  write,  or  play  Minor  and  Major  Third6t  to  A,  B,  C,  D,  E,  P,  G  ; 

♦The  Pupil  should  be  required  to  prove  all  Intervals,  by  inserting  (or 
eounting)  tho  Semitones  in  this  manner. 

tin  reckoning  Thirds,  or  any  other  Intervals,  the  Pupil  is  recommended 
first  to  lis  upon  the  proper  letter,  and  afterwards  ascertain  (by  counting'the 
Semitones)  whether  the  letter  fixed  upon,  is  to  be  Natural,  Sharp,  Double 
Sharp,  Flat,  or  Double  Flat.  For  example,  after  having  decided  that  the 
Third  of  Amustbe  C.  it  remains  to  be  proved  which  of  the  live  C's  (viz  ; 
Cb),  C#,  CX,  Cb,  Ct»b)  is  the  one  required.  That  C,  which  is  three 
Semitones  from  A  is  the  Minor  Third,  and  that  C,  which  1*  four  Semi- 
ton/ia  from  A,  is  the  Major  Third. 


30  OF    INTERVALS. 

toA#,  B#,  G#,  D#,  E#,  &o.,;  to  Ab,  Bb,  Cb,  I>b,  Eb,  &*• 
How  many  Semitones  is  a  perfect  fifth  from  the  Note  na.ned  ? 

Seven : 

12  3  4  5  6  7 

A    A^ 
A_A„A  _A    Asg0_& 


but  the  easiest  way  is  to  remember,  that  every  Note,  ex- 
cepting one,  has  a  Fifth  either  Sharp,  Flat,  or  Natural, 
like  itself.  For  example,  the  Fifth  of  C  is  G,  the  Fifth  of 
C  sharp,  is  G  sharp,  the  Fifth  of  C  flat  is  G  flat. 

What  Note  has  a  Fifth  unlike  itself? 

B  ;  the  Fifth  of  which  must  be  raised  a  Semitone  to 
make  it  perfect.  For  example,  the  Fifth  of  B  is  F  sharp, 
the  Fifth  of  B  sharp  is  FX,  the  Fifth  of  &  flat  is  F. 

Name  or  write  Fifths  to  all  the  Notes,  beginning  with  F,  and  pro- 
ceeding always  a  Fifth  higher. 

F,  C,  G,  D,  A,  E,  B.  F  sharp,  C  sharp,  G  sharp,  D  sharp, 
A  sharp,  E  sharp,  B  sharp,  F  X,  OX,  &c. 
Name  Fifths  to  Flats  now,  commencing  with  F  Flat. 

Fflat,  Cflat,  G  flat,  J) fiat,  Aflat,  E fiat,  B  flat fF%,&c. 

By  way  of  exercise,  now  name  the  Fifths  below,  and  observe  that  in  reck- 
oning downwards,  every  Note  has  a  F'fth  like  itself,  excepting  F,  the  Filth 
below  which  must  be  lowered  a  Semitone.  For  example,  the  Fifth  below 
F  is  B  Jtat,  the  Fifth  below  'Ffiat  is  B  double  flat,  the  Fifth  below  F#  l«  B 

B,  E,  A,  E,  G,  C,  F,  ft  flat,  E  flat,  A  fiat,  D  fiat,  G  flat. 
C  flat,  F  flat,  B  double  flat,  &c« 

Name  the  Fifths  below  to  the  Sharps,  commencing  with  B  sharp. 

B  sharp,  E  sharp,  A  sharp,  I)  sharp,  G  sharp,  C  shaij,,  F 
sharp,  B  natural,  kc. 

Name  again  the  two  Letters  which  have  Fifths,  not  Sharp,  Fiat  or 
Natural,  like  themselves 

B,  in  reckoning  Fifths  upwards*;  and  F,  in  reckoning 
Fifths  downwards. 

"What  is  the  Leading  Note? 

The  Leading  Note  is  the  Sharp  Seventh  of  the  Scale :  it 
is  eleven  Semitones  from  the  Note  named ;  but  the  e&siesi 
way  is  to  reckon  it  one  Semitone  below  the  Octave  k 


-&& 


OF    INTERVALS.  31 

12345678  91011 

A 


jem. 


As  you  say  Sharp  Seventh,  is  the  leading  Note  always  a  Sharp  f 

No.  For  example,  the  Leading  Note  of  F,  is  E  natural', 
the  Leading  Note  of  A,  is  G  sharjj ;  and  the  Leading  Note 
of  Cjlat,  is  Bflat.* 

As  the  Leading  Note  is  one  Semitone  below  the  Octave,  is  it  immaterial 
whether  the  Leading  Note  of  A  be  called  G  sharp  or  A  flat  ? 

No  :  for  although  A  fiat  is  a  Semitone  below  the  O.ctave, 
it  is  the  eighth  letter  or  Degree,  and  the  Leading  Noto 
must  be  the  seventh. 

Name  or  write  the  Leading  Note  of  A  ;  of  B,  C,  D,  E,  F,  G  ?  of  A  sharp ( 
B  sharp,  C  sharp,  D  sharp,  E  sharp,  F  sharp  G  sharp  ;  A  flat,  B  flat,  Cflatf 
Dflat,  Eflat,  Eflat.  Qflat. 

Name  or  write  Minor  Thirds,  Major  Thirds,  Fifths  and  Leading  Notes 
to  A,  8,  C.  D,  E,  F,  G  ;  A  sharp,  B  sharp  C,  sharp,  D  sharp,  E  sharp,  F  sharp f 
G  sharp  ;  Aflat,  B flat,  C flat,  Dflat,  ~E.fl.at,  Eflat,  Qflat. 

Name  or  write  Minor  Thirds,  Major  Thirds,  Fifths,  and  Leading  Note8 
to  Aflat,  B  sharp,  €,  Dflat,  E  sharp,  F,  Gj2aJ,  ;  A  sharp,  B,  0,/ja*,  D  •ftarp, 
E,  F  flat,  G  sAarp  j  A,  B  flat,  C  sharp,  D,  E  ./fcif,  F  sharp,  G. 


*In  naming  Intervals  in  general,  it  is  sufficient  to  name  the  letter,  if  a 
Natural  be  intended.  Thus  it  is  sufficient  to  say  that  the  Minor  Third  of  A 
Is  C,  and  not  to  eay  C  natur&l :  but  in  naming  or  writing  Leading  Notes,  i' 
should  be  always  expressed  ;  the  Leading  Note  of  B  flat  is  A  natural  tho 
Leading  Note  of  Eflat  is  D  natural,  &c.  This  is  recommended  that  the  Pu- 
pil may  hereafter  more  readily  find  the  Leading  Notes  of  the  Minor  Key*, 
which  are  already  marked  with  an  Accidental  Sharp,  Flat,  or  Natural 


CHAPTER  IX. 


OF    THE    SIGNATURE. 


How  do  you  determine  what  is  the  Tonic,  or  Key  Note  of  a  piece  Of 
Music  t 

Principally  by  the  Signature,  or  number  of  Sharps  or 
Flats  at  the  beginning. 

What  method  have  you  of  discovering  the  Tonic? 

Every  Tonic,  or  Key  Note,  is  a  fifth  higher  for  every 
additional  Flat,  commencing  always  with  0,  which  Key 
has  neither  Flat^nor  Sharp. 

Name  the  order  of  Keys  with  Sharps. 

C  has  no  Sharp,  G  has  one,  D  has  two,  A  has  three, 
E  has  four,  B  has  five,  F^l  has  six,  and  C^  has  seven. 

Name  the  order  of  Keys  with  Flats. 

C  has  no  Flat,  f  has  one,  B\)  has  t#*o,  E{)  has  three, 
A\)  has  four,  Dfo  has  five,  Gfo  has  six,  and  C\)  has  seven* 

Wbat  Key  has  two  (or  more).  Sharps  (or  Flats,)  &c. 
•  What  is  the  Signature,  (or  number  of  Sharps  or  Flats)  of  the  Key  A, 
DJlat,  Fsharjy,  &c.  &c. 

How  many  Keys  have  the  same  Signature? 

There  are  two  of  each.  For  example,  every  Tonic,  or 
Key  Note,  has  its  relative  Minor.* 

How  is  the  Relative  Minor  of  any  Key  to  be  found? 

The  Relative  Minor  of  every  Key  is  a  Minor  Third  be- 
low. For  example,  the  Relative  Minor  of  C,  is  A  Minor ; 
the  Relative  Minor  of  B|},  is  G  Minor. 

Name  the  Relative  Minor  of  C,  of  G,  D  A,  E,  B,  F  sharp,  C  sharp;  of 
C,  F,  Bfiat ,  TZJlat,  AJldt,  DJlat,  GJiat,  and  CJlat. 

In  what  manner  do  you  decide  whether  a  piece  is  in  the  Key  which  is 
indicated  by  the  Signature,  or  in  its  Relative  Minor? 

By  looking  for  the  Leading  Note  of  the  Minor  Key  al- 
luded to  ;  as  the  Leading  Note  of  every  Minor  Key  is 
marked  with  an  Accidental  Sharp  or  Natural.  For  ex- 
ample, 

*  The  difference  between  Major  and  Minor  Keys  will  be  more  fully  ex- 
plained hereafter  :  the  present  is  only  given  as  the  readiest  way  of  enabling 
Q.  Pupil  to  adccrtain  what  Key  any  piece  of  Music  is  in. 

m 


FORMATION    OF    TUE    SCALE. 


*^m 


Judging  from  the  Signature,  this  may  be  either  in  C,  or 
A  Minor,  but  as  the  first  G  is  Sharp,  (which  is  the  Lead- 
ing Note  of  A,)  the  piece  is  in  the  Key  of  A  Minor. 


This  piece,  having  one  Sharp  at  the  Signature  may  be 
either  in  G,  or  E  Minor;  but  as  the  first  D  is  not  Sharp, 
it  cannot  be  in  E  Minor  ;  consequently,  it  is  in  the  Key 
of  G. 

Isthisaninvariable'Rule  for  ascertaining  what  Key  apiece  of  Mu6icisin? 

No;  exceptions  to  it  (though  very  seldom)  maybe  met 
with ;  but  these  can  only  be  understood  by  those  who 
study  harmony. 

Name  or  -write  the  order  of  Keys  with  Sharps  and  Fiats  ;  also  the  Rela- 
tive Minor,  and  the  Leading  Note  of  the  Relative  Minor,  to  each  Key. 

As  the  Relative  Minor  of  any  Key  is  a  Minor  Third  below,  of  course,  tho 
Relative  Major  of  any  Minor  Key  is  a  Minor  Third  above  ;  name,  therefore, 
tb'j  Relative  Major  of  A  Minor,  «fcc.  &c. 


CHAPTER  X. 

OF    THE    FORMATION    OF    THE    SCALE. 


What  is  a  Tetrachord? 

A  Tetrachord  is  composed  of  four  Sounds,  placed  at 
the  Intervals, of  two  Tones  and  one  Semitone;  that  is  to 
say,  the  Interval  between  the  first  and  second  Sound 
must  be  a  Tone;  between  the  second  and  third,  a  Tone; 
and  between  the  third  and  fourth,  a  Semitone, 


34  FORMATION    OF    THE    SCALE, 


Make  Tetrsvohords,  commencing  with  F  ;  A  sharp  ;  B  Jlat  ;FJlat.  Mark 
the  Semitones  with  a  Slur. 

Make  descending  Tetrachords,  commencing  with  A  ;  B  Jlat ;  F  Jlat ;  B 
double  Jlat ;  and  observe  that  the  interval  of  the  Semitone  must  still  be  be" 
tween  the  two  highest  Sounds  of    the  Tetrachord. 

What  is  the  Diatonic  Saale  f 

The  Diatonic  Scale  must  consist  of  the  seven  Letters  or 
Degrees,  and  the  Octave  to  the  first,  in  regular  succession, 
proceeding  by  Tones  and  Semitones. 

How  do  you  form  the  Diatonic  Scale  ? 

By  making  two  Tetrachords,  leaving  the  Interval  of 
one  Tone  between  them,"  called  the  Tone  of  Disjunction, 

Form  the  Scale  of  C  Mark  the  Semitones  with  a  Slur,  and  Separate 
-he  Tetrachords,  at  the  tons  ol  Disjunction,  by  a  Bar. 

Lower  Tetrachord.        Upper  Tetrachord.. 


-& 


~:& 


mmS: 


It  is  to  be  remarked,  that  the  Semitones  are  between 
the  Third  and  Fourth,  and  between  the  Seventh  and  Eighth 
of  the  Scale.  In  all  Major  Keys,  the  ascending  and  de- 
scending Scales  are  composed  of  the  same  Notes, 

*  Name  ev.ftry  Interval  of  tiv;  foregoing  Scale. 

C,  is  the  Tonic,  or  Key  Npte  ;  D,  the  second  ;  E,  the 
third  ;  F,  the  fourth,  &c.  &c* 

Make  the  Scale  of  E  sharp,  the  Scale  of  G  Jlat. 

Make  the  descending  Scale  of  A,  Jlat,  F,  sharp. 

In  what  manner  are  Scales  to  be  formed,  so  as  to  ehew  their  connexion 
with  each  other,  and  to  shew  the  order  of  the  Seven  Sharps  f 

*The  Pupil  should  be  required  to  name  the  Intervals  of  every  Scale  thafc 

•  &  formed. 


FORMATION    OF    THE    SCALE. 


35 


Commence  with  the  Scale  of  C,  and  take  the  upper  Te- 
trachord  of  one  Scale  for  the  lower  Tetrachord  of  the  next. 
Observe,  that  every  Scale  will  be  a  Fifth  higher  than  the 
preceding  and  will  have  an  additional  Sharp. 

Scale  of  G.  * 


C-=^E 


#©-^, 


&c, 


Scale  of  C. 


Bcale  of  D. 


Make  Scaled  progressively;  mark  the  first  and  each  succeeding  8harp 
upon  a  separate  Staff,  until  you  have  found  the  order  of  the  seven  Sharps, 
viz : 


~#-Vr- 


After  having  found  the  order  of Sharp9  regularly,  hy  making  Scales,  the 
Pupil  will  do -well  to  remember,  that  F  is  the  first,  and  that  every  sue 
ceeding  Sharp  is  a  Fifth  higher.  • 

In  what  manner  are  Scales  to  be  formed,  so  as  to  shew  the  order  of  the 
Flats? 

Exactly  the  reverse  of  the  former ;  that  is  to  say,  the 
lower  Tetrachord  of  one  Scale  must  be  taken  for  the 
upper  Tetrachord  of  the  next.  For  example,  the  lower 
Tetrachord  of  C,  is  the  upper  one  of  F. 


Scale  of  C. 


■*Z0-& 


Scale  of  B 


*5rcc; 


:&c. 


Soalo  of  F.  t 


*In  order  to  avoid  the  inconvenience  of  the  Ledger  Lines,  it  will  be  ne- 
ceasary,  in  commencing  the  succeeding  Scales,  to  copy  the  Notes  of  thte  al* 
ternate  Tetrachords  an  Octave  lower. 

tin  or4er  to  avoid  tb©  Inconvenience  of  toe  Lodgtr  Linee,  it  will  b«  no 


$6  FORMATION    OF    THE    SCALE. 

Make  Scales  progressively,  mark  the  first  and  each  succeeding  Flat  upon 
&  separate  Staff,  until  you  have  found  the  order  of  the  seven  frlate,  vifc  : 


After  having  found  the  order  of  Flats  regularly,  by  forming  the  Scales 
the  Pupil  will  do  well  to  remember,  that  B  is  the  first  Flat,  and  that  every 
succeeding  Flat  is  a  Fifth  lower. 

What  i-s  meant  by  the  Dominant  and  Subdcm.m;Mi'<>  ? 

.  The  Dominant  signifies  the  fifth  above,  and  the  Subdomi- 
nant  the  Fifth  below.  Every  Scale  is  intimately  connected 
with  the  Scales  of  its  Dominant  and*  Subdommant. 

Form  the  Scale  of with  its  Dominant  and  Subdommant. 

What  ie  the  difference  between  a  Major  Key  and  a  Minor  Key  ? 

A  Major  Key  signifies,  that  the  Third  of  the  Scale  is  a  Ma- 
jor Third  from  the  Tonic ;  and  a  Minor  Key  signifies,  that 
the  Third  is  a  Minor  Third  from  the  Tonic, 

Key  of  CJ  Major,  or  Key  of  C,  with  a  Major  Third. 


5^? 


"©: 


i 


&  3d. 

Key  of  A  Minor,  or  Key  of  A,  with  a  Minor  Third. 


What  is  the  Minor  Scale.  ^  • 

The  Minor  Scale  consists  of  the  same  number  of  Tones 
and  Semitones  of  the  Major,  (viz:  five  whole  Tones  and 
two  Semitones,)  buj  differently  djsposed;  the  ascending  also, 
differs  from  the  descending  Scale.  For  example,  A  is  the 
Relative  Minor  of  C,  and  has  neither  Flat  nor  Sharp  at 
the  Signature. 

cessary,  in  commencing  th»  succeeding  Scales,  to  copy  the  NoteB  of  the  al- 
ternate Tetraohords  an  Octave  higher. 


FORMATION    OF    THE   SCALE. 


37 


-G>- 


&  itSZ 


IHPI 


The  Semitones,  it  is  to  be  observed,  are  not  in  the  same 
situations  as  in  the  Major  Scale, 

How  ie  the  Minor  Scale  to  be  formed  ? 

The  easiest  way  is  to  form  it  with  the  same  Flats  or  Sharps 
as  itsRelative  Major,  remembering,  that  the  Sixth  and  Sev- 
enth of  the  Ascending  Scale  must  each  be  raised  a  Semi- 
tone by  Accidental  Sharps  or  Naturals.  For  example,  D 
is  the  Relative  Minor  of  F ;  consequently,  must  have  B  fiat 
at  the  Signature.  The  Sixth  and  Seventh,  as  has  been 
before  remarked,  are  raised  by  Accidentals,  in  the  As- 
cending Scale. 


~S> 


-&- 


-P*2 


go: 


■&- 


Why  are  the  Sixth  and  Seventh  Notes  of  the  Ascending  Minor  Sea1© 
raised  by  Accidentals? 

The  Seventh  is  raised,  because  every  Ascending  Scale 
mast  have  a  Leading  Note  ;  and  the  Sixth  is  also  raised, 
that  the  Interval  between  the  Sixth  and  Seventh  may  not 
be  greater  than  a  Tone  ;  for  the  Diatonic  Scale  must  con- 
sist of  Tones  and  Semitones. 

Repeat  the  Method  of  making  a  Minor  Scale. 

First  ascertain  what  is  its^lelative  Major  ;  secondly, 
write  the   Signature  ;  thirdly,  write  the    Scale  ascending 
and  descending;  fourthly,  raise  the  Sixth  and  Seventh  -eff 
the  ascending  Scale,  each  one  Semitone. 
4 


38  FORMATION    OF    THE    SCALE. 

Write  the  Scale  of  D  Minor,  Gr  Minor.  F  sharp  Minor,  B  Minor,  C  Minor 
&c , 

Write  the  Scale  of  the  Relative  Minor  of  D,  E,  D  flat,  C  sharp,  &c. 
Write  the  Scales  of  the  Relative  Minors  to  C,  G-,  D,  A,  E,  B,  F  sharp,  C 
sharp,  C,  F,  Bfiat,  F  fiat,  A  Jlat,  DJlat,  C  fiat. 
What  is  the  Chromatic  Scale? 

.  The  Chromatic  Scale  consists  of  Semitones  only. 


-#-#•■ 


> 


^ii^El^^EEi 


i 


»"t» 


?Sc 


*-r  bmrixr 


Is  it  -Immaterial,  in  writing  the  Chromatio  Scale,  whether  you  write  A 
fiat,  or  G  sharp,  and  A  sharp,  or  Bfiat  ? 

No  ;  the  Signatures  must  be  attended  to.    For  example, 
with  three  Flats,  you  must  not  write 


t-fe 


but  every  Note  should  have  its  proper  situation  on  the 
Staff,  according  to  the  Signature  :  thus, 


This  renders  fewer  Accidentals  necessary. 

By  way  of  Exercise,  write  tho  same  passage  as  aho\^e  with  four  Sharps 
At  the  Signature. 


-yffirf-flr*: 


j*zx*l£.: 


i 


FORMATION    OF    THE    SCALE.  39 

In  order  to  draw  the  attention  to  the  subject  of  fingering,  it  is  now  re. 
commended  that  the  Pupil  should  write  and  finger  all  the  Scales,  com- 
mencing with  the  Scale  of  C,  and  going  on  progressively  as  far  as  tho 
Scale  of  C  sharp,  and  the  Scale  of  CJlat,  ascending  and  descending  twc  oc- 
taves both. for  the  right  hand  and  tho  left.  These  should  be  first  written 
upon  a  slate  fingered,  and  when  corrected  by  the  master,  copied  into  a  book 
for  daily  practice.  Tho  Major  Scales  should  be  written  on  one  side  of 
tho  book,  and  their  relative  Minors  on  the  opposite  page.  The  proper 
Sharps  or  Fiats  belonging  to  each  Scale  should  be  placed  as  the  signa- 
ture at  the  beginning,  and  not  as  they  occur  in  the*  Scde,  excepting  of 
oourse  the  sixth  and  seventh  of  the  Minor  Scales,  which  require  raising 
by  accidentals  in  the  ascending,  and  contradicting  (on  account  of  being 
written  without  Bars)  in  the  descending  Scale. 

In  fingering  the  Scales,  the  following  remarks  may  bo  found  useful. 
The  fingering  is  only  to  be  marked  upon  the  first  note  of  the  Scale,  and 
where  the  thumb  is  to  be  passed  under  the  fingers,  or  the  fingers  over  the 
thumb. 

In  the  ascending  Scale  of  two  octaves  for  the  right  hand— commence 
with  the  thumb— pass  the  thumb  under  tho  seoond  finger— next  under  the 
third  finger,  and  again  under  the  second,  which  will  prepare  sufficient 
fingers  to  ascend  to  the  top  of  the  Scale . 

In  descending,  commence  with  the  fourth  finger— pass  the  second  fin- 
ger over  tho  thumb— next  pass  the  third  finger  over,  and  lastly  the  second 
finger  over. 

"When  the  Scale  commences  with  a  Black  Key  commence  with  the  first 
finger,  and  follow  the  foregoing  rule  as  closely  as  the  situation  of  the  Black 
Keys  will  admit  of;  observing  that  neither  the  thumb  nor  the  fourth  finger 
must  be  placed  upon  a  Black  Key  in  fingering  a  Scale. 

In  t!  e  ascending  Scale  of  two  octaves  for  the  left  hand  commence  with 
the  fourth  finger— pass  the  second  finger  over  the  thumb— next  pass  the 
■third  fiuger,  and  lastly  the  second  finger. 

In  descending  commence  with  the  thumb— pass  the  thumb  under  tho 
second  finger,  next  under  the  third  finger,  and  lastly  #  under  the  second 
finger. 

The  situation  of  the  Black  Keys  will  render  it  necessary  to  commence 
in  sorr^e  Scales  with  the  third,  second,  or  first  finger,  instead  of  the  fourth 
but  the  foregoing  rule  is  to  be  followed  as  closely  as  circumstances  Will  ad- 
mit  of- 

No  Scale  should  be  practised  till  it  has  been  inspected  by  the  Master. 
Nothing  can  be  more  generally  useful  than  the  daily  practice  of  the 
Scales,  at  the  same  time  the  greatest  attention  is  requisite  on  the  part  of 
the  Pupil'to  the  positien  and  steadiness  of  the  hand,  as  well  as  to  the  clear- 
ness and  connexion  of  the  Notes.     (See  Chap.  IV.  ) 


CHAPTER  XI. 

OF  VARIOUS    CHARACTERS    USED  IN  MUSIC, 
What  is  a  Double  Sharp  ?    X 

A  Double  Sharp  raises  — --J —  a  Note  two  Semitones. 

What  is  a  Double  Flat  ?    bb 

A  Double  Flat  lowers  ~^~?L  a  Note  tw0  Semitones' 

How  is  a  Single  Sharp  or  Flat  replaced  after  a  Double  one  ? 

By  means  t)f\a  Natural  and  Sharp,  or  a  Natural  and  Flat. 

Ab  a  Dot  after  a  Note  makes  it  half  as  long  again,  what  is  the  use  of 
a  second  Dot? 

The  second  Dot  is  equal  to  half  the  first ;  consequently, 
a  Crotchet  with  two  Dots,  is  equal  to  a  Crotchet,  Quaver, 
and  Semiquaver. 

— fc--, — U        is  equai  to         — p (- — i 4" 

As  Semi  signifies  half,  and  Breve  short,  why  is  the  longest  Note  calle 
a  Semibreve? 

A  Semibre  ve  is  the  longest  in  present  use :  but  there  were 
two  others  formerly  called  a 


Long,  — piwiw| —  and  a  Breve  — g — 

What  proportion  dees  a  Somibreve  bear  to  them  ? 

A  Long  is  equal  to  two  Breves,  or  four  Semibreves  ;  con- 
sequently, a  Semibre  ve  is  equal  to  half  a  Breve,  or  a  quar- 
ter of  a  Long.  * 

Is  a  Demisemiquaver  the  shortest  Note  ? 

(40) 


VARIOUS   CHARACTERS    USED    IN   MUSIC.  41 

No:  there  is  one  called  a  half  Demisemiquaver,  made 


thus,  and  — 


» 

its  Rest  thus, — 3 — sixty-four  of  these 


are  equal  to  one  Semibreve.  • 

In  what  manner  is  a  whole  Bar  Reet  marked  ? 

In  the  same  manner  as  a  Semibreve  Rest,  be  the  value 
of  the  Bar  what  it  may. 


SEJEpjE; 


•8— i- 


m 


In  what  manner  are  Rests  for  more  than  one  Bar  marked? 

A  Rest  for  two  Bars  is  made  from  one  line  to  the  next' 


1 —  for  four  Bars,  from  one  line  to  the  next  but  one ; 


-| —  but  a  Figure  expressive  of  the  number  of  Bars, 


is  frequently  placed  over  ;  -  | — * —  and  when    th*e    num 


ber  is  very  great,  Figures  only  are  used. 


3^&- 


In  what  manner  do  you  count  eeveral  Bars'  Rest  1 

By  naming  the  number,  instead  of  the  word  One  on  the 
first  of  each  Bar.     For  example, 


mm 


These  five  Bars'  Rests  should  be  counted. 

1,    2,  3,    I    2,   2,  3,    |    3,  2)   3,    I    4,   2>  3,    | 

instead  of  always  one,  two,  three, 


42  .  VARIOUS   CHARACTERS. 

"What  is  melody? 

A  Melody-is  a  succession  of  Sounds. 

What  is  Harm  on y  ? 

A  combination  of  Sounds. 

Are  there  any  more  Glefs  than  the  Treble  and  the  Base  ? 

141 

Yes :  the  C  CJ.ef,        y     This  Clef  is  occasionally  placed 

upon  either  of  the  four  lowest  lines  of  the  Staff,  and  gives 
the  name  of  C  to  all  Notes  on  the  same  line  as  itself ;  the 
other  Notes  are,  of  course,  named  by  degrees  from  it;  its 
situation  on  the  Piano-Eorte  is  the  middle  0. 

When  this  Clef  is  placed  upon  the  first  line,  it  is  called 


TTTL the  Soprano  Clef;   when  upon  the  second  line, 

Wt 


— 2  the  Mezzo  Soprano  Clef,  when  upon  the  third 


c 


line  the  Alto,  or  Violo  Clef;  -j]™[- and  when  upon 

c 

the  fourth  Hne,  it  is  called  the  Tenor  Clef. 

Name  all  the  Degrees  of  the  Staff,  according  to  these  Clefs. 

Do  the  Treble  and  Base  Clefs  ever  change  their  situations  on  the  Staff? 

Yes,  in  very  oljl  Musi'c:  but  all  Notes  on  the  line  with 
the  Treble  Clef,  are  called  G,  and  all  Notes  on  the  line 
with  the  Base  Clef,  are  called  F. 

Give  Examples  according  to  the  following  Clefs. 


)—&- 


■&■ 


What  is  the  difference  between  a  Chromatic  and  a  Diatonic  Semitone? 

A  Chromatic  Semitone  remains  on  the  same  degree  of  the 


USED   IN   MUSIC.  43 


/ 


Staff,  and  is  ealled  by  the  same  letter,  as    ■ 

whereas    a    Diatonic   Semitone  changes  its  degrees  and 


name,  thus:      £h~~ — t* — 

What  is  the  meaning  of  Enharmonic  ? 

The  Enharmonic  Diesis,  or  Quarter  Tone,  is  the  differ 
ence  between  two  following  Notes,  one  of  which  is  raised* 
and  the  other  lowered  a  Chromatic  Semitone.  This  Inter- 
val cannot  be  expressed  on  the  Piano-Forte,  from  its  con- 
struction ;  but  the  same  Keys  must  be  struck  for  the  Sharp 
of  the  lowest  Note,  and  the  Flat  of  the  highest. 


CHAPTER  XII. 

EXPLANATION    OF    MUSICAL    TERMS, 


A,  signifies  in,  for,  at,  with,  &c. 

Adagio,  a  slow  movement. 

Ad  Libitum,  or  Ad  Lib.,  at  pleasure. 

Affetv-oso,  in  a -style  of  execution  adapted  to  express  af- 
fection, tenderness,  and  deep  emotion. 

Air,  the  leading- part  or  melody. 

Allegro,  a  brisk  and  sprightly  movement. 

Allegretto,  less  quick  then  Allegro. 

Allegro,  ma'non  troppo,  brisk,  but  not  too  fast. 

Alto,  the  Counter  Tenor  part,  or  that  between  the  Tenor 
and  Treble. 

Amoroso,  in  a  soft  and  delicate  style. 

Andante  moderately  slow. 

Andaniino,  quicker  than  Andante. 

Animato,  or  Con  Anima,  with  animation. 


44  EXPLANATION   OP   MUSICAL    TERMS. 

Anthem,  a  portion  of  Scripture,  set  to  musicT   . 

uissai,  more.  Generally  used  with  some  other  word  to 
denote  an  increase  or  diminution  of  the  time. 

Barytone,  a  voice  whose  register  is  between  the  Base 
and  the  Tenor. 

Base,  the  lowest  part  in  harmony. 

Bis,  twice.  This  term  denotes  a  repetition  of  a  passage 
in  music. 

Brillavtc,  in  a  gay  and  lively  manner. 

Cadence,  repose ;  the  termination  of  a  Harmonical  phrase 

on  a  repose,  or  on  a  perfect  chord. 
'  Calando,  a  diminution  of  time  and  sound,  till  the  sound 
is  nearly  lost  to  the  ear. 

Canon,  a  kind  of  perpetual  fugue,  in  which  the  differ- 
ent parts,  beginning  one  after  another,  repeat  in- 
cessantly the  same  Airs. 

Cantabile,  an  elegant,  smooth,  graceful  style. 

Canto,  a  song.     It  signifies  also  the  Treble  part  or  Air, 

Canto  Fermo,  plain  song. 

Chant,  a  peculiar  kind  of  sacred  music,  in  which  prose 
is  sung  with  less  variety  of  intonation  than  in  com- 
mon airs. 

Chord,  the  combination  of  two  or  more  sounds  uttered 
at  the  same  time,  according  to  the  laws  of  harmo- 
ny;  as  a  third,  fifth,  and  eighth,  which  are  perfect 
Chords.     The  fourth,  and  sixth,  are  imperfect  chords. 

Chorus,  a  composition  or  passage,  designed  for  all  the 
voices  and  instruments. 

y£Uiromat'>c,  a  term  given  to  accidental  semitones. 

Coda,  the  close  of  a  composition,  or  an  additional  close. 

Con,  with,  as  Con  Spirito,  with  spirit.     Con  Brio,  with  life. 

Con  furia,  with  boldness. 

Cusando,  with  an  increasing  volume  of  sound. 

Contralto,  the  lowest  female  voice. 

Crescendo,  or Cres.,  or  <CT,  with  an  increasing  volume  of 
sound. 

Da  Capo,  or  D.  C,  close  with  the  first  strain. 

Del,  by.     Del  Segno,  repeat  from  the  sign. 

Diapason,  the  Octavo  or  Interval  which  excludes  all  the 
tones. 

Diminuendo,  or  Dim.,  or  :r==-,  with  a  decreasing  volume. 

Dirge,  a  piece  composed  for   Funeral  occasions, 

Divoto,  in  a  solemn  and  devout  manner, 

Dolce,  sweet  and  soft, 

Doloroso,  pathetic. 


EXPLANATION     OF    MUSICAL     TERMS.  45 

Dominant,  the  fifth  Note  above  the  Tonic. 

Duetto,  or  Duett,  music  consisting  of  two  parts 

E,  and,  as  Moderato  e  Pianissimo. 

Expression,  that  union  of  qualities  in  a  composition,  from 
which  we  derive  a  sentimental  appeal  to  our  feelings. 

Expressivo,  with  expression. 

Enharmonic  Modulations,  sounds,  which  are  identical  in 
pitch,  but  placed  on  different  degrees,  are  called  en- 
harmonic. 

Fagotto,  the  Bassoon  part. 

Fine,  the  end  of  a  piece. 

Forte,  or  For.,  or  F. ,  or/.,  strong  and  full. 

Fortissimo,  or  FF. ,  or  //'. ,  very  loud. 

Forzando,  or  fz. ,  the  notes  over  which  this  term  is  pla- 
ced,'are  to  be  baldly  struck  and  continued. 

Fugue,  or  Fuge,  a  piece  in  which  one  of  the  parts  leads, 
and  the  rest  follow  in  different  intervals  of  time, 
and  in  the  same  or  similar  melody. 

Grave,  or  Gravemente,  slow  and  solemn. 

Grazioso,  graceful;  a  smoth  and  gentle  style  of  execution, 
approaching  to  Piano. 

GuistOyJxn  equal,  steady,  just  time. 

Harmony,  an  agreable  combination  of  musical  sounds,  or 
different  melodies,  performed  at  the  same  time. 

Interlude,  an  instrumental  passage  introduced  between  two 
vocal  passages. 

Intervnl,  a  musical  sound.  Also  the  distance  between  any 
two  sounds,  either  in  harmony  or  melody* 

Largo,  a  slow  movement.  A  quaver  in  Largo  equals  a 
minim  in  Presto. 

Larghetto,  quicker  than  Largo. 

Legato,  signifies  that  the  notes  of  the  passage  are  to  be 
performed  in  a  close,  smoth,  aud  gliding  manner. 

Lentando,  or  Lent,  gradually  retarding  the  time. 

Lentemente,    $  slow>  smooth  and  gliding. 

Ma,  not. 

Ma  non  Troppo,  »ot  too  much,  not  in  excess. 

Mnestoso,  with  grandeur  of  expression. 

Melody,  an  agreeable  succession  of  sounds. 

Metronome,  an  instrument,  which,  by  a  short  pendulum 
with  a  sliding  weight,  and  set  in  motion  by  clock- 
work, serves  to  measure  time  in  Music. 

Mezza   Voce,  with  a  medium  fullness  of  tone. 

Mezzo,  half,  middle,  mean. 


46  EXPLANATION    OF    MUSICAL    TERMS. 

Moderate,  between  Andante  and  Allegro. 

Motto,  much. 

Motet,  a  musical  composition  of  a  sacred  character,  con- 
sisting of  from  one    to    eight  parts. 

Non,  not. 

Non  troppo  presto,  not  too  quick. 

Oratorio,  a  species  of  Musical  Drama,  consisting  of  airs, 
recitatives,  duetts,  trios,  choruses  &c. 

Orchestra,  the  place  or  band  of  secular  musical  perform- 
ances. 

Overture,  in  dramatic  music,  is  an  instrumental  strain, 
which  serves  as  an  introduction. 

Pastorale,  in  a  rural  or  pastorale  style. 

Piano,  or  Pia.,  or  P.,  or  p.,  soft. 

Pianissimo,  or  PP.,  or  pp.,  very  soft. 

Piu,  prefixed  to  another  word  increases  its  force. 

Pizzicato,  snapping  the  violin  strings  instead  of  employ- 
ing the  bow. 

Poco,  little,  somewhat. 

Pomposo,  grand  and  dignified. 

Presto,  quick. 

Prestissimo,  very  quick. 

Primo,  the  first  or  leading  part. 

Quartette,  a  composition  consisting  of  four  parts,  each  of 
which  occasionally  takes  the  leading  melody. 

Quintetto,  Music  composed  in  five  parts,  each  of  which 
occasionally  takes  the  leading  melody. 

Recitative,  .a  sort  of  style  resembling  speaking. 

Pdpieno,  applied  to  such  parts  as  are  intended  to  fill  up 
the  chorus. 

Ritomello,  a  short  intermediate  symphony. 

Secondo,  the  second  part. 

Semi-Chorus,  half  the  choir  of  voices. 

Sempre,  throughout ;  as,  Sempre  Piano,  soft  throughout. 

Semplice,  chaste  and  simple. 

Senza,  without ;  as,  Senzi  Organo,  without  the  organ. 

Siciliano,  a  slow,  graceful  movement  in  compound  time.' 

Soave,  agreeable,  pleasing.  . 

Solfeggio,  the  system  of  arranging  the  Scales  by  the  names 
Do,  Re,  Mi,  Fa,  Sol,  La,  Si,  by  which  singing  is  taught. 

Soli,  plural  of  Solo,  but  denoting  only  one  voice  to  each  of 
the  several  parts. 

Solo,  a  composition  designed  for  a  single  voice  or  instru- 
ment. Vocal  solos,  duetts,  &c,  in  modern  music,  are 
usually  accompanied  with  instruments. 


EXPLANATION    OF    MUSICAL    TERMS,  47 

Soprano,  the  Treble,  or  higher  voice  part. 

S&stenuto,  sustaining  the  sounds  to  the  uttermost  of  their 

nominal  value  in  time.- 
Sotto   Voce,  middling  strength  of  voice. 
Spiritoso,  with  spirit.  g  m. 

Staccato,  the  opposite  to  Legato  ;  requiring  a  short,  articu- 
late, and  distinct  style  of  performance. 
Sub- Dominant,  the   fourth  Note   above  the  Tonic,  or  the 

fifth  below  the  Tonic. 
Subito,  quick. 
Symphony  or  Sym.,  a  passage  to  be  executed  by  instruments, 

while  the  vocal  performers  are  silent.     Also  a  species 

of  musical  composition. 
Tar  do,  slowly. 
Tasto  Solo  or  T.  S.,  denotes  that  the  passage   should  be 

performed  with  no  other  chords  than   unisons   and 

octaves. 
Tacit,  be  silent. 

Tempo,  time  ;  as  A  Tempo,  or  Tempo  Giusto,  in  true  time. 
lempo  di  Marcia,  Martial  time. 
Ten,  Tenuto,  sustained  after  the  style  of  Legato. 
Tenor,    high  male  voice. 
Thorough  Base,    the    instrumental  Base,    with  figures  for 

the  Organ. 
Treble,  the  female  voice. 
Trio,  a  composition  for  three  voices. 
Tntti,  all  together. 
Veloce,  quick. 

Verse,  one  voice  to  a  part. 
Vigoroso,  with  energy. 
Vivace,  in  a  brisk  and  lively  manner 
Volti,  turn  over. 
Voce  di  Tetto,  the  head  voice. 
Voce  di  PettOf  the  chest  voice. 


CONTENTS 


CHAPTER    I. 
Of  the  Keys,  Staff,  &c*  -  -  -  "        5  . 

CHAPTER   II. 
Of  the  Length  of  Notes,  Rests,  &c.    -  3 

CHAPTER   III. 
Of  Time, 14 

CHAPTER    IV. 
Of  the  Position  of  the  Hand,  and  manner  of  Playing,    17 

CHAPTER  V. 
Of  Sharps,  Flats,  &c.  -  -  -  -24 

CHAPTER   VI. 
Of  Common  Characters  used  in  Music,  -  27     J 

CHAPTER  VII. 
Of  Graces,  and  Common  Marks  of  Expression,        -      3° 

CHAPTER  VIII. 
Of  Intervals,    -  -  -  -  -  -      33 

CHAPTER  IX. 
Of  the  Signature,         -  -  -  -3* 

^  CHAPTER  X. 

Of  the  Formation  of  the  Scale,  -  37 

CHAPTER  XI. 

Of  the  various  Characters  used  in  Music,      -  -      40 

CHAPTER  XII. 
Explanation  of  Musical  Terms,  -  -  -      45 


I 


